#this rehire is the same fucking vibe to me
Text
Nostalgia sells - or does it? About BBC’s rehiring of a previous showrunner for Doctor Who as a marketing strategy
All, right, this is the one where I deal with my issues about RTD’s rehiring from the standpoint of BBC’s business strategy . Brace for passive agression, swearwords, brief history of british television and numbers. So, so many numbers.
Allright, so I already wrote a post about my problem with RTD’s (re)hire from the creative standpoint (it’s here in case you’re interested), but hey, I can bitch about it all I want, but we all know what caused the BBC to make this decision, right? You’ve heard about it for sure. The Dropping Ratings. You’ve read about it on so many posts, lots of them probably oh-so-gladly conflating this fact with their own opinion about the deteriorating quality of the show. (Don’t worry, we’ll get to that.) So Obviously the execs at the Big BBC Quarters needed to do something about it, and what better way to go than rehire a guy who’s run at Doctor Who is a warm childhood memory for so many in it’s fanbase? After all, it’s what we’re seeing nowadays: from Star Wars return to wave of 80′s nostalgia to every old blockbuster star doing a comeback, there is but a single conclusion - nostalgia sells.
Or does it?
Part One: Moving with the change; or very much refusing to.
Let’s start this off with some facts about the ratings for Doctor Who. (Well, I warned you there’s gonna be numbers, didn’t I. Stick with me, I’m going somewhere with this I promise.) In it’s beginnings, in the sixties and seventies , the series flown high, averaging a viewership from 8 up to 10 million viewers per season. Collin Baker’s series 17 brought in a record of 11.21 milion viewer asses in front of a good ol’ TV screen, real champagne opener here. But, as it happens, things were downhill from here. During the eighties, the rating started dropping steadily, reaching an all-time low of 4.15 milion couch-warming bottoms in 1989, the last season of the classic era.
Years passed, 16 of those years to be exact, and here comes our saviour RTD. Under his wings, the revived series premiered, bringing in over 10 milion viewers to the premiere episode of season 1, Rose. A viewership this high did not last for long, but still, RTD’s seasons averaged between 7 and 8 milion viewers per season, which seemed pretty respectable. But then, as the story likes to repeat itself, not unlike the bbc execs just did, along came the decline again. Ever since 2010, the ratings began steadily dropping again, from 7.95 in 2010 to 5.46 in 2017. Then DW experienced an unexpected peak in 2018 with the premiere of Jodie Whittaker’s first season, which averaged 7.96 viewing asses, but then continued the dropping trend on the next season, averaging 5.40 viewing butts.
So what went wrong?
You see, part of the reason that Doctor Who was bringing in such great viewership numbers in the 60′s and 70′s, was that, to put it simply, BBC did not have much competition. Or, to be exact, only had one competitor. ITV was literally founded in order to break BBC’s monopoly over British television. But in the 80′s, with the launch of Channel 4 and Sky, the british viewers had more and more options to choose from. So logically speaking, they no longer had to watch BBC’s programming just because there was nothing else on. There was more and more new programes to boredom-watch. And here’s something y’all need to know about the tv industry: the boredom-watchers, the casuals? That’s the most important demographic. As hard as it might be to swallow, us hardcore fans, forum dwellers and Ao3 gremlins, we’re not as big of a group as we’d like to think. Loving fans are important to the tv execs as providers of word-of-mouth advertisment, but the real numbers come from the casual, everyday viewer who will just put on the next episode cause the other one was kinda fun I guess. Or more fun than the other options, anyway.
And this is why, by the way, when someone is conflating low viewership with the show Dissapointing The Fans, they’re full of shit. I’m sorry, but we’re really not that much of a force here, definitely not enough to make such a big impact on the numbers. Another factor, that some of you probably noticed already, is that the numbers I’m quoting are from british tv only, while the online fandom is very much international, so our opinions matter even less to the british execs, I’m sorry again, hard pill to swallow I know, but true nonetheless.
But I digress. So, to sum up the previous paragraph, Doctor Who’s viewership decline in the 80′s was the effect of the changing landscape of the TV industry, with which the BBC struggled to come to terms with.
Sound familiar?
Let’s move on to the 2010′s, shall we?
2010 was is actually a good marker of a year to choose, because it marks one important thing that begun a big change in the industry. This was the year in which Netflix expanded their services overseas, from being a DVD rental company to providing VOD services. Over the next decade streaming services grew in importance, from being an add-on to your cable TV that you didn’t really want but they were throwing it in for cheap, to very much self-sustainable media services you might very well buy instead of buying the cable. And if you look at the numbers for Doctor Who viewership declining over the last 10 years, that’s precisely what’s been happening. It’s not that people don’t want to watch Doctor Who on tv, they don’t want to watch tv in general. Do you know what was the most popular channel in Britain this year? Can you guess? Fucking Netflix that’s what. It’s just slowly-yet-steadily ceasing to be the way we use home entertainment anymore. Again, not much to do with the audience approval, because for that matter, let’s see about the specific episodes that saw the spikes in viewership.
Rose, which i mentioned at the start of it, was for the longest time the unquestionable queen when it comes to viewership, at 10.81 milion. The next episode, The End of the World, pulled in 7.97 - almost 3 millions worth of lost viewer-butts in one week? Is it because it was so much worse than it’s predecessor? No, it simply did not have the smell of Newness, the Event You Must See, and as such brought forth less of the casual viewers who were simply curious about The New Thing. The next season followed the similar formula, peaking at the premiere, when the marketing was at it’s strongest, going down during the season, sometimes rising slightly for the finale, sometimes not. The most popular episodes are, of course, the specials - yet again, the vibe of The Event To Be Seen worked here, but one more thing working to their advantage is they often aired in spaces between seasons, serving as both a long-waited Crumbs of Content for the fans, and the basically stand-alones for the casuals. Do you know what the single most watched episode of revived DW is? No, it’s not Tennant’s goodbye with the role (yeah I know, I thought it had to be that as well). It was Voyage of the Damned, between seasons 3 and 4. The perfect standalone for the casual watcher. And last but not least, you know one more special feature that brought, maybe not as much, but definitely more than expected? The 1996 movie Doctor Who, with 9.08 million. Again, a perfect standalone.
But the standalones aren’t the only way to grab the viewership. The currently-highest viewing non-special episode of DW? The Woman Who Fell to Earth, Jodie Whittaker’s introduction. In 2018 no less, in the year when the streaming was the ruler supreme, this episode brought a whooping 10.96 million buts to the good ol’ TV again. Let me reiterate: this episode brought in more viewers than Rose did in 2005, while having WAY more competition and way less favorable circumstances of release that RTD’s debiut did. Not only that, it managed to bring on some numbers for the entire season as well, not as good of course as the premiere (because again, the Event vibes faded), but still brought a better average than the last six seasons did. (Again, let me reiterate: more than the last SIX seasons. More viewership than any series since 2010, since the Streaming Wars.) So clearly, this must be the way, right? Catering to this Weird New Trend, that saw directors notice there do in fact exist other actors than white men, that surely brought in some profit, even Marvel does it now, right? Out with the old, in with the new!
Part 2 The Deceitful Charm of Nostalgia
Well, it turns out the whole Doing New Things deal didn’t work out that well after all, now did it? The second season penned by Chibbnal averaged 5.40 milion, that’s 2.5 million drop from the previous one! It must mean it didn’t work, right? Well, yes and no. As much as the refreshment of the formula as simple as Let’s Put A Woman In It absolutely worked for one season, it very visibly did not hold up for longer. An Event-Episode is something that can still happen on TV, Event-Series? That’s pretty much reserved for streaming now, if you think about it, and it’s honestly kind of a miracle that Series 11 did as well as it had. Two consecutive Event-Series on network tv? Flat out impossible.
So how to make those ratings great again? How to get those butts in seats of the Good Ol’? Well, the execs of the BBC have a plan for that. They brought in a devouring beast, and it’s name is: Nostalgia.
Without a doubt, there is a number of people who feel nostalgic about RTD’s era of Doctor Who. It’s a lot of people’s fond childhood memory, or the series they started with, and judging by the numbers, there should be quite a lot of them. So the new plan, as it appears, is to get to those who maybe lost interest in the show and lure them with the promise of the thing That Is Totally Like The Thing You Used To Love, Remember? (This is why I don’t actually think that RTD will be allowed to do anything new and interesting, that’s not what they hired him for. And that’s why I think this is bad from the creative standpoint.) So there are two questions here: One, will the people be lured? And two, for how long?
Nostalgia as a marketing strategy is something that you’re probably sick of seeing already (I know I am). But it has very much been effective on many levels, especially the eighties-baiting, Stranger Things style, can bring a new IP up to relevance. But what about old IP’s that want to have a comeback?
It’s kind of dificult to find another TV show that I could compare to Doctor Who. Most series that have been running for that long are mostly soap operas, that operate on slightly different rules, and are also targeted to a different audience. So as much as the movie series is still not exactly the best comparison, when I think about a big IP, campy sci-fi, family-oriented (at least in theory) on its path back to relevance, I think about Star Wars, obviously. The Force Awakens gambled on that nostalgic feeling and won big, but the next two movies, while still financially successful, were nowhere near the astounding success of the first one. And that’s because - you guessed it - it created the Event You Must See again, The Great Comeback, but merely two years later, the comeback became old news. So what we can gain from that is that nostalgia can create an Event as well as a new trend, if not better. But the question remains: how long will that last?
That is, after all, the main difference between a movie franchise and a TV series in the traditional, network TV sense of the word: movie franchise must bring in the viewership every year or two, and TV series must bring in viewers every week for at least two months. Is RTD’s Nostalgia Vibes enough to provide for that?
I’ll say this: I’m absolutely certain that the 60th anniversary will be very popular. I still don’t think it will break any records because, as I’ve been trying to explain for this whole post, it is not 2007 anymore no matter how much the tv execs would like it to be. But ironically, the almost-certain success of the special is the very thing that could undermine the effect of bringing their precious Nostagia Boi back onboard. Remember, the first Event Episode is The Big Oof. That’s the one that gets asses to the Good Ol’, if anything ever does. After the first big event one, that’s the point when things start going down. They’re wasting their Special Event Boi for something that already would be an event, dear fucking gods, I hate your plan and I would still execute it better. Either have RTD be the Anniversary Guy and then hire someone new, use that hype and keep it going, OR have RTD come in after the anniversary, then at least you get the Event Effect for the premiere of his first return season. Fukin’ amateurs.
But even if they did that, here’s the thing: do you think that the people who departed from the show years ago actually want to watch another three to five seasons of The RTD Show? I mean, I’m sure the thought warmed some hearts, for sure. A number of people will definitely gladly watch the anniversary, probably the first few episodes of the first return to the basics, but after that? In the world when, due to streaming, they have an easy way to revisit the actual thing they’re nostalgic towards? I honestly don’t think so. And you’re not really gonna get many new people by going back, if that nostalgia factor isn’t there. And then there’s casual viewers, the backbone, as we established. And here’s the thing: lots of those people don’t even know who the current showrunner is, cause they’re not Terminally Online like we are, and the second thing? Lots of those people ARE JUST NOT WATCHING NETWORK TV, IM SORRY GARRY. They’re just. They’re just not. I don’t know how to spell it out better. Even my mum has netflix now. Your biggest base is in another castle mate, gotta get moving and gotta get moving quick, cause here’s another thing: all the nostalgia in the world will not do SHIT for you if your target, people who were kids/teens when the RTD era was airing, PROBABLY DON’T EVEN HAVE A FUCKING TV ANYMORE CAUSE THEY MOVED OUT OF THEIR PARENTS FLAT AND LOTS OF YOUNG PEOPLE JUST DON’T BOTHER. Just. I’m sorry but you’re trying to resuscitate a decade-deceased corpse there buddy. It just won’t work. The times have changed and you gotta swim or drown, and it’s just not gonna be 2005 again, no matter how hard you pretend it is. It’s not your content it’s your business model. Just push more marketing for your iplayer or whatever, focus on streaming as your primary not your secondary cause that’s just what it is now, and maybe don’t rely on the viewer-counting systems of the yesteryear to evaluate your business. Or else you’re gonna get stuck sacrificing the creative growth of your show for a marketing strategy that probably won’t even fucking WORK.
There, I got it of my chest. Feel free to reblog, and also: you somehow got to the end of this, congrats! I’ll make numbers nerds out of y’all yet.
#it's like. my sister and I were#watching a movie lately. the one with multiple will smiths and the de-aging tech#(don't recommend it it's real boring)#but when Youngened Will Smith appeared on the screen my sister got my spiting my tea laughing by innocently saying:#"oh i don't know this actor. it's nice that they're giving opportunities to the young actors. great to see a new face in the biz''#and u know what#this rehire is the same fucking vibe to me#some cunts from marketing plastering make-up to an old man's face and pretending its 2005 still#anyway#doctor who#i guess.
44 notes
·
View notes
Text
February 14, 2021: Brokeback Mountain (2005) (Part 1)
Happy Valentine’s Day!
Or Palentine’s, Galentine’s, Single Persons Appreciation Day, what have you!
Anyway, on this day where we (and the greeting card companies) celebrate love in all of its forms, I think it’s about time to diversify my movie choices a little bit. SO, for the next few days at least, we’re going to change it up, starting with a film that shook the 2005 public’s perceptions of love: Brokeback Mountain.
And who brings this movie to us? Same guy who gave us this:
And this:
And would give us this:
Ang Lee wasn’t originally meant to be the director of the film, as Gus van Sant was signed on to do it. You know, Good Will Hunting, Drugstore Cowboy, that one movie where Una Thurman plays the greatest hitchhiker in the world with giant thumbs, and eventually finds herself meeting multiple people, including Keanu Reeves, Pat Morita (Mr. Miyagi from The Karate Kid), and a group of radicalesbians who like in the Great Plains, coexisting with a group of critically endangered whooping cranes to whom they;’ve fed peyote, while also opposing the intentions of an evil feminine hygiene product company that seeks to take over the land for their factories? YOU KNOW, THAT MOVIE?
It’s called Even Cowgirls Get the Blues, and I wasn’t even slightly exaggerating with that summary, I SWEAR.
Anyway, he couldn’t do it, and Joel Schumacher also passed on it eventually, so they asked Ang Lee if he’d do it. After CTHD and Hulk, dude was on his way to retire, but after he cried at the end of the script, he accepted the job. AND HISTORY WAS MADE
Before I get into it, I should probably frank about something. I’m a cissexual, heterosexual man in a straight relationship with my girlfriend. She says hi, by the way. Here she is, a massive Jake Gyllenhaal fan, getting ready to watch this movie for the first time with me:
Isn’t she lovely? Anyway, just thought I’d be totally transparent about that. Incidentally, I remember when this film came out, as well as the fervor around it. This was JUST as the gay marriage debate was EXPLODING into the public scene, so this was obviously quite the talking point at the time.
Anyway, shall we find out who’s not going to quit whom? SPOILERS AHEAD!!!
Recap
Cowboys Ennis del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) are waiting outside of a trailer, with Ennis having just arrived on a truck that reminded me of Optimus Prime, and I’m sorry. They’ve been hired by Joe Aguirre (Randy Quaid) to look after a group of sheep and guide them over Brokeback Mountain, a fictional mountain in Wyoming.
The two finally introduce each other, with Ennis seeming considerably closed off as compared to the open Jack Twist. They head to a bar, where the two get to know each other a but better Jack’s an occasional shepherd, but highly involved in rodeos throughout the year. Ennis, meanwhile, is a regular ranchhand at his family’s farm.
Time for sheep-herding, as the two guide their flock of sheep on horseback, with soft country guitars playing in the background over all of it. And I gotta say, the music combined with the visuals is giving me this real sleepy ambience vibe that I 100% would watch specifically to fall asleep to. Which is not an insult by any means, by the way; it’s just super relaxing.
The two make camp with the sheep in a mountain valley, and now I want to go camping. I realize that it’s February, and I live in a place VERY non-conducive to camping, but GODDAMN this movie makes me want to go camping. In the wilderness, surrounded by bird calls and crisp mountain air, LET’S GO.
We find out that Ennis is engaged to be wed to a woman named Alma, while Jack is yearning to break free of needing to take jobs like this. And all the while, they’re eating beans, scaring away coyotes, and fending of REALLY REALLY FAT American black bears, who you could really easily scare away without too much difficulty. You ever stared at a bear while both of you were in the woods? I HAVE. And we BOTH took off from each other in opposite directions. They’re not the bravest of animals, black bears. Grizzlies, however, you don’t wanna fuck with.
Anyway, after they face off against that bear and lose their newly bought supplies, they go hunting the next day and take down an elk. Which is a LOT of venison, I tell you what! Oh, and I’m not a hunter, just to be clear, but elk are fuggin’ HUGE. Seriously, XL deer they are.
Anyway, time goes on after that, and they continue to make their way through the mountains. And they get to know each other more, sharing their rodeo experiences and family backgrounds. Ennis also opens up pretty considerably, a fact not missed by Jack. The two become friends.
My girlfriend asks an interesting question: if I had never heard of this movie in any capacity...would I have known the extent of the relationship of Ennis and Jack? And honestly...I’m legitimately not sure at this point. I think I would’ve just assumed that they’d stay close friends, but no further than that. Call that being raised in a society with heterosexual bias towards relationships, or call that me not being a natural shipper. Both are probably accurate, to be honest.
Anyway, it’s getting cold out, and Jack’s sleeping in the tent one night while Ennis is freezing his balls off outside. With Jack’s insistence, he goes inside the tent to sleep next to Jack. And then...
Oh. Well, OK. Again, though, still not sure that at this point I’d...oh wait...OH...OH.
youtube
OK. Think I’d be able to tell at this point what the movie’s about.
So, yeah, they have sex. It’s spontaneous, it’s wild, it’s heat of the moment passion...and it’s REAL awkward the next day, I tell you what. That next evening, Ennis and Jack both insist that they “ain’t queer,” and that this is “a one-shot thing they got goin’.”
Uh, boys? There’s some important evidence to the contrary that we should consider here. But, OK, it’s a different culture, this is super new to you both, I get it. I’m not one to talk on the coming out or discovery experience (again, straight cis dude over here), but I understand that there’s some inherent denial. But still, they continue their relationship as is, for the time being.
Which is not as private as they thought, as Joe Aguirre observes them chasing each other naked on the mountain from afar. Whoops. Well, it doesn’t matter as much, as they still have a job to do until summer ends. And that job continues. They encounter another herd of sheep that gets tangled up with theirs, snow falls on the mountain and they have to deal with that, etc.
Then one day, the two need to head out. Jack goes to fetch Ennis, who’s moping on a hillside about something. He does this play lasso thing, which seems cute...
...until it turns into a full on brawl right there on the hillside. OK. Well. Some heavy denial going on here, I think, especially on Ennis’ part. Which is somewhat understandable, given the culture, and the fact that Ennis is engaged. Oh, by the way, hello infidelity. GodDAMN IT. Escaped you for TWO MOVIES IN A ROW, and you’re back rearing your ugly head.
Anyway, the job is done soon, and Aguirre’s not exactly happy with them, as they’ve apparently lost some sheep and picked up some from the other herd’s flock accidentally. With a light rebuke from Aguirre, the two part ways with not much else said. Jack asks if Ennis will come back the next summer, and Ennis reminds him that he’s getting married that fall. But as Ennis leaves...
Huh. Interesting reaction, that. Well, in the next scene, Ennis gets married to Alma Beers (Michelle Williams), and they seem to have a very happy relationship. They have two daughters together in a pretty small amount of time. The next summer, Jack tries to get a job with Joe Aguirre once again, but is refused on account of his relationship with Ennis on the mountain...kind of.
See, here’s the thing. Joe rebukes Jack for having their relationship on the mountain, leaving the dogs to babysit the sheep, rather than do the job they were hired for. And, uh...he’s not wrong, honestly. Yeah, OK, there’s definitely some homophobia laced in there, obviously, but they were hired to watch the sheep, and we only really saw them do that once or twice. So, yeah, sorry to say, but Joe’s not entirely unjustified in not rehiring Jack.
At a Fourth of July festival, Ennis brings his wife and daughters to see the fireworks, when a couple of bikers antagonize the crowd as a whole. This results in Ennis telling them to stop, and a fight takes place, with Ennis IMMEDIATELY taking out the two bikers, with little effort. Anger issues there, Ennis?
Jack returns to the rodeo, with new other options for money. He’s clearly also coming to terms with his own sexuality, as seen when he not so subtly hits on a cowboy at the bar. However, he also meets a young woman, a barrel racer named Lureen Newsome (Anne Hathaway), whom he seems to get along with fairly quickly at a rodeo. They dance together at the bar that night, and, uh...park.
And that, of course, leads to their eventual marriage and parentage as well. Looks like Lureen’s parents arent the biggest fans of Jack, though. Sure that’s going to lead to a healthy relationship down the road.
Been about 4 years since Brokeback Mountain, and this is punctuated by Jack paying a visit to Ennis’ place, which Ennis is told about by Alma. He seems...very anious, waiting nervously for a day to see him. But he finally arrives, and the two embrace happily. And then...
Oh, and Alma sees? Sure, sure, oh, and they go to a motel IMMEDIATELY? Oh, OK, OK, infidelity? Yuuuuuuupyupyupyupyupyup, halfway point? Yeah, sure, see you in Part 2. Geez.
#brokeback mountain#ang lee#annie proulx#heath ledger#jake gyllanhaal#linda cardellini#anna fanart#anne hathaway#michelle williams#randy quaid#ennis del mar#jack twist#jack x ennis#ennis x jack#romance february#user365#365 movie challenge#365 movies 365 days#365 Days 365 Movies#365 movies a year#userfynn#usertom#fyeahmovies#grumpycas
10 notes
·
View notes
Last Seen Blogs
heartleycrossing-blog
Heartley Crossing
bighairmonkey
Peek behind the scenes of Z Nation
p-e-b-l-o-blog
_P_E_B_L_O_
altctrlelia
AltCtrlElia